.Miranda_July on 'Kajillionaire,' creative freedom, and, of course, poop. e_alexjung reports
Photo: Mike Mills for New York Magazine Every Wednesday, Miranda July goes to her old home, a modest two-bedroom in Echo Park she has kept for over 15 years, and stays the night. Initially, she felt more anxious about the arrangement than did her husband, the filmmaker Mike Mills, and their 8-year-old, Hopper. Are mothers allowed to do this? But she needed a room of her own. Psychic space just a seven-minute drive away! In this house, there is no cooking.
At its core, much of July’s work is a search for human connection in all its weird, sticky intimacies. Kajillionaire looks closely at an emotionally stunted family. Theresa and Robert , con artists and parents to Old Dolio , treat their daughter more like a peer than a child. The story was unexpected, even for July. She first saw the characters as she was waking up, faint like faraway fireflies. She caught the image and whispered it into a voice memo, which she simply titled “Family Movie.
“I grew up in a very anxious family, where things could spin into a sense of crisis easily, and that’s how I’m calibrated,” July says. “My dad will fall down the rabbit hole of crisis and make it have a larger meaning cosmologically. There is just incredible haunting, debilitating anxiety and trauma in that person.” Her undiagnosed chronic eye problem, for instance, might be a manifestation of inherited trauma.
It’s hard not to see July’s relationship with her family as an organizing principle, in some ways, for her work. Her characters are often like two irregularly shaped polygons trying to find ways to fit together, whether through romance or kinship. She’s interested in relationships that might exist in alternate realities or through a surrogate.
“I was like, Okay, you can have that,” July remembers thinking when she watched it. “I guess that’s yours as much as mine. I could never use it because of ‘back and forth forever.’ ” Still, you can’t change perception. “I could say, ‘Yeah, I gangbanged,’ and people would still be like, ‘I don’t know. She seems twee.’ It doesn’t really matter what I do, so I feel pretty free at this point.”
“I have a family,” July says, her voice going up with the tail of the sentence. “I have, like, a whole thing, a whole life that’s at stake.”“You’re fucking with me and my entire life when you do that,” says July. “Because you know that, like, brings up a lot of stuff. And I know — ”“That’s not the issue. I would love to be there. I would love it.”“You realize this is the exact thing we did last time. I came over and then it’s just, like, downward spiral. I’m, like, shaking right now.
The piece works because of the medium, too. It’s responsive and of the moment, operating along the rhizomatic lines of social media. It was a shot in the arm for July: She could still be making interesting, soul-fulfilling work that wasn’t governed by gatekeepers. No pitch meetings, no one to beg for money. It’s these projects that channel her DIY artistic roots best. During quarantine, she started another Instagram project called Jopie, “a movie we made together when we were apart.
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